‘Whatever I have done, I have always felt a rebel.’ Pushing the boundaries of classical ballet to confront the gritty realities of the human condition, Kenneth MacMillan breathed new life into the art form, and created some of its most treasured masterpieces. Among the many taboo topics he dared to explore, death – and its effect on those left behind – recurs time and again.

This focus is perhaps unsurprising, given MacMillan’s personal experiences. His mother suffered chronic epilepsy, and died in 1942 when he was just 12 years old. In 1946 his father died of pneumonia, and 13 years later his sister Jean was killed in a car crash. Losing those closest to him was a recurring theme in MacMillan’s life – and death a preoccupation in his work.

Some of the choreographer’s most poignant depictions of death occur in his narrative ballets. The famous endings of his Romeo and Juliet (1965) and Manon (1974) illustrate the hopeless anguish of their male protagonists at the passing (whether real or artificial) of their beloveds. In both instances, they cling desperately to their partners, painfully dragging them through steps that recall their previous pas de deux. Earlier in Romeo and Juliet, Lady Capulet’s gut-wrenching reaction to the death of her nephew Tybalt is portrayed more naturalistically – illustrating the pain of loss with vivid and harrowing understanding.

Mayerling, MacMillan’s 1978 ballet based on the true story of Crown Prince Rudolf and his teenage mistress, presents death from a very different perspective. Here, it pervades every aspect of the ballet. Rather than causing anguish for the protagonists, death is an obsession – even a fetish – building towards the frenzied pas de deux that ends in their nightmarish double suicide.

MacMillan also created several one-act ballets that consider the end of life with more optimism. The choreographer’s own summary of his 1965 Song of the Earth was ‘A man and a woman; death takes the man; they both return to her and at the end of the ballet, we find that in death there is the promise of renewal.’ Set to, and inspired by, Mahler’s Das Lied von der Erde, the work illustrates death not as an evil force but as a gentle, ever-present figure. As the curtain falls, the couple walks hand-in-hand with The Messenger of Death towards eternity, accepting their fate with a sense of calm inevitability.

Requiem – a tribute to MacMillan’s friend and colleague at Stuttgart Ballet, John Cranko – addresses the agony of loss but again depicts death with serenity. The 1976 ballet was created on the Stuttgart company, whose torment is expressed by a huddle of dancers who begin the ballet drumming their fists with rage, mouths wide open in silent screams of grief – and by a solo woman who suffers with them. However, as Fauré’s sacred score unfolds, there are sublime moments of optimism – such as the woman’s solo to the ‘Pie Jesu’ – and at the end of the ballet the dancers gather round a pool of glowing light as if witnessing the transfiguration of a soul to heaven.

Even in Gloria – which was inspired by Vera Brittain’s World War I-set Testament of Youth – MacMillan finds ways to affirm life amid the horror of death. There is suffering in the work: the male dancers are dressed in costumes that recall blood-stained soldiers’ uniforms, and the choreography features awkwardly splayed limbs and hands covering faces in grief. But MacMillan introduces a sense of transcendence and joy amid the sorrow – particularly with the angel-like female dancers.

Through these and other works, MacMillan confronted a topic that choreographers before him avoided. He gave ballet a voice on this crucial human experience – both its pain and anguish, and the power of hope through life.

Tetractys – The Art of Fugue is supported by Outset in partnership with The Luxury Collection, and staged with generous philanthropic support from David Hancock, Linda and Philip Harley and two anonymous donors.Gloria is staged with generous philanthropic support from Richard and Delia Baker.

A Very Special OccasionFrederick Ashton created Rhapsody to celebrate the 80th birthday of the Queen Mother in 1980. Ashton frequently choreographed works for special occasions, and other examples include Homage to The Queen and Birthday Offering. Almost all of these have survived beyond their gala-specific origins to become staples of The Royal Ballet's repertory.

Variations on a ThemeAshton selected Rachmaninoff’sRhapsody on a Theme of Paganini, his exuberant final masterpiece for piano and orchestra. He was following in the footsteps of choreographers Mikhail Fokine and Leonid Lavrovsky – but unlike Fokine and Lavrovsky's narrative works, Ashton used the alternately passionate and lyrical variations of Rachmaninoff’s music as the basis for a celebration of pure virtuoso dance. Rhapsody is particularly notable for its dazzling solo male role, created for Mikhail Baryshnikov as the culmination of his series of guest appearances with The Royal Ballet.

The Beauty of NumbersDiscussions of J.S. Bach’s The Art of Fugue oftenexplore the intricacies of its structure, and some even suggest that the work was influenced by the Pythagorean theory of numbers – in particular the pyramidal shape of the tetractys. These ideas inspired Wayne McGregor and Tauba Auerbach, whose choreography and designs for Tetractys –The Art of Fugue reflect the complex geometry of Bach’s music. However, while it is fascinating to explore these links, McGregor is keen that the audience ‘see the oneness’ of his new ballet. In Tetractys, the combination of music, dance and design transcends the codes that fused them together; creating a new, abstract work of art.

An Intriguing Masterpiece‘What we know about J.S. Bach’s masterly Art of Fugue is just about outweighed by what we do not know’, says Michael Berkeley, who arranged and orchestrated the work for Tetractys. Comprising 19 fugues and canons all in the key of D minor, and with virtually no directions as to the order or manner in which they should be played, this masterpiece is just as baffling as it is astonishing. Its mystique has, over the centuries, resulted in many varied interpretations – Berkeley’s arrangement, which uses seven sections of the work, is one of several which have taken Bach’s four-line stave and translated it across the instruments of the orchestra.

Remembering the Great WarKenneth MacMillan’s Gloria, choreographed in 1980, laments the generation lost in World War I. Inspired by Vera Brittain’s autobiography Testament of Youth, the ballet’s powerful depiction of the brutality of conflict, as well as its moments of beauty and optimism, resonate as strongly in 2014 – the year which marks the centenary of the start of the Great War – as when the ballet was first performed.

Sensual SpiritualityMichael Somes, then Principal Répétiteur of The Royal Ballet, introduced MacMillan to Poulenc’s Gloria in G major. Poulenc’s setting of a section of the Roman Catholic mass has a profound spirituality while being very far from solemn. Joyous, daring and sometimes downright cheeky, this animated and earthy expression of faith provides a moving counterpoint to MacMillan's sobering exploration of the consequences of war.

The Rhapsody/Tetractys – The Art of Fugue/Gloria mixed programme runs 7–15 February 2014. A small number of tickets are still available. 67 day tickets will be available on the morning of each performance from the Box Office in Covent Garden at 10am.

Kenneth MacMillan's Gloria is a profoundly moving response to World War I. The opening image instantly evokes familiar images of soldiers at Passchendaele or the Somme – men, silhouetted, the distinctive profile of their Brodie helmets clearly visible. But the choreography itself speaks powerfully of the consequences of war and the anguish of loss.

MacMillan's wife Deborah has spoken of how throughout MacMillan's career he had sought to create a ballet in response to war. It wasn't until quite late in his life, in 1979, that MacMillan encountered the spur that would lead to Gloria. A BBC TV dramatization of Vera Brittain's Testament of Youth inspired MacMillan with its elegiac tribute to the lost generation, told through Brittain's own experiences of working as a nurse and of losing both her brother and her fiancé to the conflict. Brittain's story is clearly represented in MacMillan's choreography, through limpid pas de deux and an excoriating, intense pas de trois, where the central woman holds the two men close to her.

But there's also a more directly personal element to Gloria. MacMillan's father William fought in World War I and died of pneumonia in 1946 when Kenneth was 16. William had not supported Kenneth's desire to dance – Kenneth had had to forge a letter from his father in order to audition for Ninette de Valois – and never saw him perform. William's death came at the same time as Kenneth received his first professional contract, and led to a personal crisis for Kenneth. He later wrote that on his father's death 'I was overcome by loneliness… I was unable to give my father the warmth he craved. It was an emotional paralysis that masked my real feelings for years to come.'

William never spoke to his family of his wartime experiences. He had enlisted in May 1915, at the age of 24, as a gunner with the Highland Fifth Royal Garrison Artillery. He was caught in a mustard gas-attack at the Battle of the Somme, which left him with lifelong pulmonary problems and sores on his face and neck. William nursed an intense contempt for the Army authorities, refusing further treatment or a disability pension after his discharge in 1919. He often spoke of moving his family to the Soviet Union. Kenneth later remembered his father forbidding him or his brother from joining the Scouts – his only explanation that he didn't want his sons wearing uniforms.

Many have suggested that Brittain's study of the Great War and its after-effects enabled MacMillan to begin to understand the horrors that his father had experienced, and to begin to unfold the guilt he had associated with his relationship with his father. There's anger in Gloria – the moment in the pas de trois where the three soloists point at the audience, a gesture that recalls the Lord Kitchener enlistment posters while also carrying a clear edge of accusation. There's pessimism too, in the moment where the corps de ballet gather in circular movements, a representation of the unending cycle of peace and war. But MacMillan's choreography also expresses tenderness, yearning and love in movements of intimate beauty. The sadness and horror expressed in Gloria is matched by a profound sense of humanity.

Gloria is a poignant tribute both to the fallen and to those left behind. MacMillan was able to invest his unique choreographic language with a deeply felt emotion. The result is one of his masterpieces, and a true act of remembrance.

Group Booking for Winter Season productions opens on 8 October, two weeks ahead of General Booking on 22 October.

Groups can save up to 40% on an outstanding line-up of opera and ballet, securing the best seats at the best prices. Furthermore, if patrons confirm their group booking before 21 November, they will receive an extra 5% discount off the booking.

Ballet available for group booking includes George Balanchine’s sparkling Jewels, Peter Wright’s production of the heartbreaking Romantic favourite Giselle, and a Mixed Programme, which includes work from three defining choreographers of The Royal Ballet: Frederick Ashton’s celebratory Rhapsody, Kenneth MacMillan’s powerful Gloria and Wayne McGregor’s new production The Art of Fugue.

Operas on offer this season include Kasper Holten’s brand new production of Mozart’s dark exhilarating opera, Don Giovanni, Francesca Zambello’s production of Bizet’s passionate Carmen, and Laurent Pelly’s productions of both Donizetti’s much-loved La Fille du régiment and Massenet’s classic Manon.

Groups of ten or more are eligible for group booking, making it the ideal opportunity to introduce family and friends to Royal Opera House productions. Find out full details of winter offers.

Other benefits for group bookers include a ‘book now, pay later’ arrangement and a dedicated group booking phone line.

Tickets can be booked through our Group Sales Department by email at groupbookings@roh.org.uk and by telephone on +44 (0)20 7304 4002.

Friends of Covent Garden are able to book Advance Booking Packages from tomorrow (Tuesday 17 September). Advanced Booking Packages are available to all from 15 October.

A wide range of packages – Total Opera, Total Ballet, Mini Packages and Family Packages – are available across the Winter Season, offering patrons the chance to secure their favourite seats for the most in-demand performances at a discounted rate. You can book by calling +44 (0)20 7304 4004

The packages - which are available for seats in the Orchestra Stalls, the Stalls Circle and the Amphitheatre - offer savings of up to 33% on ticket prices. Those who book an Advance Package can also request vouchers to exchange for either a programme or glass of champagne for one of their chosen performance.

With six packages to choose from you can enjoy all six operas staged during the Winter Season, including Kasper Holten’s new production of Mozart’s masterpiece Don Giovanni, which features designs by Es Devlin; and Francesca Zambello’s passionate production of Bizet’s Carmen, starring acclaimed tenor Roberto Alagna. Other productions in the Total Opera Package include Laurent Pelly’s production of Massenet’s classic Manon and Donizetti’s hilarious La Fille du régiment, starring star soprano Patrizia Ciofi and opera legend Kiri Te Kanawa.

Five different packages on offer enable you to enjoy all three programmes of the Winter Season, including the world premiere of Wayne McGregor’s new ballet The Art of Fugue, which will be performed alongside Kenneth MacMillan’s powerful Gloria and Frederick Ashton’s celebratory showpiece Rhapsody. This Mixed Programme showcases three choreographers synonymous with The Royal Ballet. Other productions in the Total Ballet Package include George Balanchine’s Jewels, the ideal alternative Christmas treat; and Peter Wright’s production of Giselle, the greatest of all Romantic ballets.

Mini Packages

A choice of seven mini packages enables you to choose a selection three operas, three ballets or a mix of both on set dates.

Family Packages

Ideal for a family treat, Family Packages offer two adult tickets and up to four under-18s tickets to The Royal Ballet’s Giselle.

Please note: Unfortunately packages are not yet available to book online. This is something we hope to introduce later in the Season. To book, you can call the Box Office on +44 (0)20 7304 4000.

]]>http://www.roh.org.uk/news/advanced-booking-packages-for-winter-season-201314-offer-great-savings/feed0Review of 2011 (Part Two)http://www.roh.org.uk/news/review-of-2011-part-two
http://www.roh.org.uk/news/review-of-2011-part-two#commentsFri, 30 Dec 2011 11:29:35 +0000Chris Shipmanhttp://www.roh.org.uk/?p=6832What a busy year we’ve had at the Royal Opera House. From mysterious demonic visitors to human insects, tardy rabbits to Playboy bunnies – our stages have seen them all. We thought we’d take a look at 12 of our stand-out productions from 2011. Following the first six, here are the rest of our top picks...

Tosca

A whirlwind trip through the sights of Rome (and one of Conductor Antonio Pappano’s favourites), Tosca offered up the thrilling trio of Angela Gheorghiu, Bryn Terfel and Jonas Kaufmann in the summer’s hot ticket. Jonathan Kent’s production, originally staged in 2006, is a firm Royal Opera favourite and didn’t disappoint on its return this year.

The Metamorphosis

ROH2’s dance theatre adaptation of Franz Kafka’s seminal novella saw Edward Watson in the role of Gregor Samsa, a travelling salesman who wakes up one morning to discover that he’s been transformed into a giant insect. Garnering critical acclaim, the production was memorable for Watson’s insectoid writhing to Frank Moon’s glitchy, oppressive soundscapes across a stage splattered and stained with gooey treacle.

Faust

A diabolical visitor made a memorable appearance in David McVicar’s visually impressive Faust with René Pape as Mephistopheles providing a performance of real personality and depth, prompting at least one reviewer to cry with a wink and a nudge, “It’s one hell of a show!”. Angela Gheorghiu and Vittorio Grigolo as Marguerite and the title character respectively, also impressed.

Il trittico

A rare outing for Puccini’s triptych in October saw Richard Jones direct a bill of drama, tragedy and comedy conducted by Antonio Pappano. Sandwiched between the atmospheric Il tabarroand the famous comedy Gianni Schicchi, the tragic Suor Angelica received particular acclaim for Ermonela Jaho’s portrayal of a grief-stricken mother.

Asphodel Meadows / Enigma Variations / Gloria

Named after the area of the underworld where the Ancient Greeks believed ordinary souls resided, Liam Scarlett’s Asphodel Meadows kicked off a programme centred around themes of love and death. Followed by Enigma Variations and Gloria - a tribute to the dead of World War I – the bill showcased a trio of Dame Monica Mason’s (deservedly) favourite short works and reminded audiences of the talent of choreographer Liam Scarlett.

La traviata

Featuring the Covent Garden debut of Ailyn Pérez, La traviata table danced its way onto our stage in October in a flurry of ballgowns, champagne and muffled consumptive coughs. Pérez had stepped into the role at short notice during The Royal Opera’s tour of Japan in 2010 to huge acclaim. Alongside the likes of Piotr Beczala as Alfredo and Simon Keenlyside as Giorgio Germont she didn’t disappoint on her first performance as Violetta in London.